Blasted grassland, the thin ribbon line of the freeway
unspooling beneath wheels, skies stretched wide
between mountaintop. It is dream music, foggy,
atmospheric, the melodies you hear while you gazing
out through fingerprint smeared windows into a
constantly moving, metamorphing - landscape….
It makes sense then, that BRONCHO, born out of out a
film project, its initial incarnation sparked when
founder Ryan Lindsey was asked to create music, "to
set to an early 80s punk film." "That's all I knew about
it," he remembers, "they were looking for songs that
touched this era. And songs kept coming to me and
turned something on inside of me artistically." Lindsey
found himself in the midst of prolific run of songs and
he liked the idea "of starting out there and seeing
where it could go."
What's evolved from those first tracks there has been a
steady run of success, critical accolades and two fulllength
albums; 2011's Can't Get Past the Lips,
2014's Just Enough Hip to Be Woman. And beneath it all
– the music has been constantly mutating and
ceaselessly experimental. From that first inception as a
soundtrack in 2010, BRONCHO has taken on a life of its'
own – initial inspiration still there, but now pushing far
beyond the stiff confines of score. And what began as
an ode to ramshackle, high-energy early punk has
become something deeper, weirder, and much more
nuanced. The undercurrent of early 1980 punk is still
there, but The Ramones pogo has been replaced more
often by a kind of Love and Rockets inspired, honeyed,
cotton-mouthed drift.
Double Vanity is Lindsey and band mates Ben King,
Nathan Price and Penny Pitchlynn steadily moving
ahead, transforming the raw angst of the first record
into a sound decidedly more layered and
complex. Tracks like "New Karma" or "Two Step" riff off
the later explorations of punk, culling up refracted
images of John Hughes prom nights, love songs echoing
from a boom box held high. "Jenny Loves Jenae" and
"Speed Demon" strut with an when 80s met 50s swagger,
discord transformed into a jagged, frenetic pop.
"Señora Borealis" is all bad boy sneer - sensual, moody,
with a sly and predatory swagger. "I Know You" is
simultaneously infectious and brooding, somehow both
exalting and heartsick.
The result is a record that veers gleefully from
BRONCHO's roots, moving from graffiti spray backrooms
into a sleeker, plusher sound, a place bright with the
polished gleam of chrome and bleached white
sunlight. Close your eyes and what you feel is the raw
wound pulse of adolescence, what you see behind your
lids is suburban shopping mall wastelands, glazed eyes,
dead grass, lips glossed in bubblegum pink. There is the
burst chest thump of teenage longing, the smell of
hairspray and cigarette. There is glow of neon and the
glint of streetlight rolling across hood.
Double Vanity evokes a shared nostalgia, for the past
and for the unknown future, as BRONCHO takes a turn
off the wide freeways and into a world of intimate,
intricate - but always universal - emotion.

Frankie Rose

As a founding member of the Vivian Girls, and a drummer/vocalist in both Crystal Stils and Dum Dum Girls, Frankie Rose has been an integral part of Brooklyn's still vital music scene for years. Her highly anticipated solo project not only reflects the aesthetic earmarks of her musical past, but reveals her as a fully-formed artist in her own right.

Haunted by the ghosts of Brill Building, and equal measures of 80s and 90s pop, Frankie's music evokes a spooky, lovely charm. Her ethereal, yet affectation-free vocal melodies, swirling in a sea of church-like harmonies over a bed of tambourines, bells, and propulsive drumming, recall such artists as Eilzabeth Fraser and Black Tambourine. It is both timeless and immediate; deeply personal and completely universal.

Ms. Rose's self-debut titled debut, which hit the streets in July of 2010, is moody and subtle dream pop, as if Cocteau Twins and Spacemen 3 tracked a split LP with some help from Phil Spector. The record receive much acclaim, making it onto Rough Trade's top 100 of the year. Cited by Pitchfork as "lean, elegant music that practically glows in the face of exceptional fuss," and named one of New York Times Style Magazine's "Ones to Watch," Frankie Rose is truly a force to be reckoned with.

Look out for her sophomore LP, coming soon on Slumberland Records.

The Sandinistas

Like projectile missiles discharged from the Welsh Valleys, The Sandinistas are a heady young mix of punk and new wave rock and roll. Boldly taking their influence from greats like The Clash and Green Day, they are all about the classic three-minute song, and their debut high energy single, Ready To Blow, leaves you breathless. Their anger and attitude makes a resounding statement to the world, that needs to be heard.


Curled up in a nest of fuzz pedal guts, minihorse guitarist Ben Collins realized one night that his dreams have no meaning. All that circuit wiring, as it turns out, is a harness for trapping delusions.

The band explores that revelation over the unresolved pop progressions of debut EP Big Lack, shrugging off the big dumb universe with a wry tunefulness. Tracked at Collins's home studio amid tinkerings with a prototype electrode headband, the record leaks out of headphones like slow direct current.

minihorse's genetic inheritance is a recombination of bedroom transistor wizards like Bob Pollard, cruising guitar rock into the outer valences of space in a shit-can convertible, and the brandied humor of Evan Dando and Alex Chilton, approaching the void with a pack of cigarettes.

Cooing sarcasm over a wallop of scuzzy power pop, Collins pokes at misfit notions of belonging or purpose with a Jason Lytle sigh. "Hollywood painted it black/Wait. Paint it back," he jokes before the dam breaks on "Drink You Dry."

Collins and his fellow Ypsilanti yntroverts, bassist Christian Anderson and drummer John Fossum, are giddy with their musical contraptions. They scatter hooks like firecrackers on a blacktop throughout opener "Blueblack" and beat down doors with cool-headed kraut jam "Pinstripe Web."

With breezy "Thriller," Collins grips the tape reel, jerking the recording into warbled askew against a hummable fuzz bass counterpoint that coats the band's keen insight:
"The thrill is not what's gone/It never was."

Big Lack will be available on November 11th, 2016. minihorse is currently in the studio, putting the finishing touches on their debut LP, coming in 2017 on Friendship Fever.

Rudy De Anda

Rudy De Anda is here. The front man for Long Beach psych-prog group Wild Pack Of Canaries has been hard at work carving out his debut solo EP 'Ostranenie'. The debut track 'Visions Of Plumeria,' has a beautiful melancholic approach that sonically echoes the experience of Brian Wilson & Ray Davies.
Backed by drummer Anthony Vezirian, bassist Lily Stretz (Meow Twins), and multi-instrumentalist J.P. Bendziniski (Crystal Antlers, De Lux) the band can be caught creating a bustling movement throughout Long Beach and L.A. Rudy De Anda is also part of a burgeoning community in LA called Qvolé Collective (Chicano Batman, Cutty Flam among others) who represent and celebrate progressive Latino music.The EP recorded and produced by the late Isaiah 'Ikey' Owens, was released on Porch Party Records on July 7, 2015.

Vagabon is the project of guitarist and singer Lætitia Tamko, currently accompanied by Elise Okusami on drums and Eva Lawitts on bass. Vagabon's debut EP, Persian Garden, was released late 2014 on Miscreant Records. According to DIY magazine, "Vagabon finds various ways to flood the senses. It'll either come in a harrowing lyric that sticks in the conscience, or it'll arrive from a soft drone that gradually envelops." so it must be true.

DJ Lance Rock

Lance Robertson (born April 5, 1965) is a Los Angeles-based musician, DJ, and actor also known as "DJ Lance Rock" on the Nick Jr. show Yo Gabba Gabba!.

Originally from St. Louis, Missouri, Robertson is a 1983 graduate of Hazelwood East High School. He was the vocalist for a local electronic band called My Other Self in the 1990s and the owner of a record store called Deep Grooves.

Robertson later relocated to Los Angeles where he met his wife Kendra Robertson. While working a day job at Amoeba Records, he became well known in the local indie rock scene through his band, The Raymakers. During this time, he met Scott Schultz of the Orange County indie pop band Majestic, and they eventually played a couple of shows together. Years later, when Schultz was co-creating the show Yo Gabba Gabba!, Robertson was asked to serve as host.

In addition to appearing on Yo Gabba Gabba!, Robertson tours with The Aquabats performing kid-friendly DJ sets and dancing with the monster "cast" of the series.


Free w/ RSVP

**RSVP does not guarantee entry; free food and beer only while supplies last**

Music Tastes Good is a two-day food and music festival in Downtown Long Beach, CA happening on September 30th and October 1st. For more info, please visit

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